![]() ![]() While offering a queer reading, this essay does not attempt to offer a template for queer reading of fairy tales rather, it suggests that situated and specialized cultural knowledges are integral to queer reading and are therefore not available to, or accepted by, all audience members at all times. The suspension of “what everybody knows” about the tale and the wolf figure in particular, opens space for a repositioning of the wolf-man through the representation of the wolf but also via the relationships between the cinematic visual, verbal, and musical channels and extra-textual references to Vaslav Nijinsky and Quentin Crisp. Illustrated with photographs placing the tale in an urban. This invitation to queer reading demands the suspension of the culturally dominant versions and interpretations of the tale by Grimms and Perrault, while activating gay cultural knowledges of celebrity intertexts in their stead. Not only is grandmother eaten up in this Perrault version, but so is Little Red Riding Hood. ![]() I propose that queer reading is activated by the acceptance of the queer invitation initiated primarily by the wolf figure in the film. ![]() The concept of “queer invitation” is explored in this reading of David Kaplan’s short film Little Red Riding Hood (1997). This collection of eight French contes collected by Charles Perrault in the last decade of the seventeenth century, contains perhaps. ![]()
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